Sonny Rollins - The Sound of Sonny
ARTIST.....: Sonny Rollins
TITLE......: The Sound of Sonny
LABEL......: Riverside
URL........: http://www.sonnyrollins.com
RIP DATE...: Oct-13-2007
STORE DATE.: Sep-11-2007
GENRE......: Jazz
QUALITY....: VBR / 44.1Hz / Joint-Stereo
SIZE.......: 46,4 MB
Track Listing:
01 - the last time i saw paris 02:59
02 - just in time 04:01
03 - toot, toot, tootsie! (goo' bye) 04:22
04 - what is there to say 04:56
05 - dearly beloved 03:07
06 - ev'ry time we say goodbye 03:22
07 - cutie 05:57
08 - it could happen to you 03:47
09 - mangoes 05:36
10 - funky hotel blues 06:00
─────
44:07 min
Release Notes:
Review by Lindsay Planer
A new phase in Sonny Rollins' career began in 1957. He started
what was at the time an almost blasphemous trend of recording for
a number of different labels. His pioneering spirit yielded a few
genre-defining albums, including this disc. His performances were
also at a peak during 1957 as Down Beat magazine proclaimed him
the Critics' Poll winner under the category of "New Star" of the
tenor saxophone. This newfound freedom can be heard throughout the
innovations on The Sound of Sonny. Not only are Rollins' fluid
solos reaching newly obtained zeniths of melodic brilliance, but
he has also begun experimenting with alterations in the personnel
from tune to tune. Most evident on this platter is "The Last Time
I Saw Paris" ù which is piano-less ù and most stunning of all is
Rollins' unaccompanied tenor solo performance on "It Could Happen
to You." Indeed, this rendering of the Jimmy Van Heusen standard
is the highlight of the disc. That isn't to say that the
interaction between Sonny Clark (piano), Roy Haynes (drums), and
bassists Percy Heath and Paul Chambers ù who is featured on "The
Last Time I Saw Paris" and "What Is There to Say" ù is not top-
shelf. Arguably, it is Rollins and Heath ù the latter,
incidentally, makes his East Coast debut on this album ù who set
the ambience for The Sound of Sonny. There is an instinctually
pervasive nature as they weave into and back out of each others'
melody lines, only to emerge with a solo that liberates the
structure of the mostly pop standards. This is a key component in
understanding the multiplicities beginning to surface in Rollins'
highly underappreciated smooth bop style.
http://www.amazon.com/Sound-Sonny-Rollins/dp/B000UDQR4K